13 April 2017 17h00

IMM Studio A 2.24

Felix Kubin on subversively shifting borders between noise, text and music

In the lecture by Felix Kubin the key area of focus is how levels of meaning and codes are mixed up by shifts in perception and the transfer of knowledge from familiar to unfamiliar areas. What happens when text is transformed into sound, noises are turned into music and music into motion?
A technical and aesthetic revolution is not always required in order to arrive at new means of expression in artistic practice. It is often enough to go back to what it is like to be a beginner. This works, for example, if fine arts students who are not professionally trained in music suddenly begin studying sampling and notation. They will try in one way or another to transfer the aesthetic experiences they gained in the visual arts to the music. This mixture of knowledge and dilettantism offers considerable potential for surprising results.

The borders between music, text and noise as well as between audience and artist are constantly being shifted in the work of Felix Kubin. Operating manual texts are turned into spoken polyrhythmic poems, a strict inventory of everyday noises dissolves into its component parts and an impromptu phone call with your own mother becomes a sound experiment with a built-in language training course.
Using a wide array of image and sound examples, the Hamburg artist shows how (subversive) the fun in experimenting can go on by shifting the boundaries between perception and application. At the same time it is about reflecting on one's own artistic practice and how it is represented in external space.

Felix Kubin is a composer, radio playwright and media artist. He began recording electronic pieces on a 4 track recorder when only twelve years old. Not long after that he began to perform at punk and new wave festivals of the legendary Hamburg ZickZack label. Since the late 1990s he has focused on futuristic pop music, contemporary chamber music, developed material for ARD radio play productions as well as run his own Gagarin Records label.

 

18 May 2017 17h00

IMM Studio A 2.24

Wolfgang Brauneis on Records of Visual Artists

For about a century, visual artists have integrated music within their artistic practice. In the meantime, what has long been referred to as “crossover” because it incorporates several media was – during the lifetimes of Luigi Russolo or Marcel Duchamp – an unheard of opportunity in the most literal sense of the word. Including selected listening examples, his music lecture retraces the path of futuristic and Dadaist noise art of the 1910s, the experiments of Fluxus artists and other neo-avant-garde figures in the wake of World War I, and also feature examples of a fruitful relationship between visual art and punk, pop, experimental and electronic music of the late 20th and early 21st centuries. In the course of this overview of a topic which has long been overlooked by art historian, the recording media used by visual artists have played a unique role, given the considerable changes notable in the history of artists’ records corresponding to the general transformation in the recording industry in recent decades.

Wolfgang Brauneis studied Art History and Philosophy in Regensburg, Amsterdam and Cologne. Based in Cologne since 1995, he works there as a freelance art historian, co-owner of a-Musik, a platform for experimental music consisting of a label, store, sales and distribution, event location and radio programs. He is currently a visiting professor at the Academy of Fine Arts Münster and has previously taught and given lectures at many universities, including the Zurich University of the Arts, Merz Akademie and the Staatsgalerie in Stuttgart, the Städelschule Frankfurt, the Museum Ludwig in Cologne and the ZKM | Center for Art and Media Karlsruhe. He has contributed articles, essays and reviews to publications such as Perlentaucher, artnet, Texte zur Kunst, Spex, testcard and many different exhibition catalogues. In 2014, together with visual artists Tim Berresheim (Aachen) and the curator and art critic Hans-Jürgen Hafner (Berlin), he founded the Institut für Betrachtung (Institute for Contemplation/Reflection).

 

22 June 2017 17h00

IMM Studio A 2.24

Sylke Rene Meyer on space-oriented materials development for non-linear storytelling

Interactive, user-oriented narrative forms break down our previous way of thinking in linear, chronological structures. Unlike in the art of letting time unfold on film, digital narratives only emerge when they are used. Unlike an audience member, user cause the story to be told, are involved themselves, and not tied to objective time constraints. That is why in a narrative game space is what answers the question about “where” we are in a game. It is a question which also asks about space and time and which is often only answered by space. The game, the medium of the 21st century, is thus no longer time-based like film, but space-based instead.

How can or should we still exercise artistic control in this user-generated storytelling space  – what role does the author play in this space? Space-oriented materials development is a method for developing narrative non-linear projects. Based on studies of affect and theoretical work by Yuri Lotman, Michail Bachtin and Michel Foucault, space-oriented materials development as described here provides the first procedure for developing materials for user-oriented audiovisual narratives.

Sylke Rene Meyer is professor of scriptwriting, dramaturgy and serial storytelling at the International Film School Cologne (ifs). She majored in theater studies, philosophy and law at the Free University of Berlin, scriptwriting and dramaturgy at the Film University Babelsberg KONRAD WOLF, and is a graduate of the Drehbuchwerkstatt München (Munich Scriptwriting Academy).

Since 1999, Sylke Rene Meyer has worked in various areas of artistic filmmaking – as an author, editor, director of film documentaries and movies and as a media artist. Her works, films and screenplays have been awarded prizes on several occasions, with an Emmy among the honors she has received. In addition she works with new media formats and development concepts in the area of interactive and serial narratives, and in this domain founded the Studio206 performance group, which experiments with collaborative narrative forms on digital platforms and in live performances.

 

Archive

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